Shooting sports presenters poses a unique challenge. They aren’t the athletes competing so to show them on the track etc doesn’t feel quite right, but what can you do to bring the portraits to life?

I worked closely with the creative agency making the on air trails for the Sochi Winter Olympics to make sure the presenter portraits were very much in line with the overall campaign direction. We shot the four presenters in a studio and used high res renders from the TV trail to create the final images.As well as being used for the marketing campaign, these images were also released to the press and used to great effect on many covers and features, such as the Radio Times cover shown.

Upstairs Downstairs was a gorgeous costume drama for BBC One. I always love working on these series because the sets, costumes and locations are always stunning.

I managed the unit, portrait and key art photography as a coherant image-led publicity campaign.

The beautiful cast portraits were used extensively in the press as covers and feature leads.
The series group shot was very carefully planned and storyboarded before being shot in four parts as cast were available. Group shots like these are always tough to execute successfully!

As well as advertising and publicity photography, I also manage the photography for live events and the red carpet.
For Radio 1 Big Weekend, as part of a small team, I manage press accreditation, stage pit access, event logisitcs, branding boards and live uploads to press.

These events are always very busy and require a cool head and good organisational skills, but they are always great fun.

I managed all aspects of the photography campaign for this BBC One drama. Working alongside marketing, I decided to create two distinct key art images targeted at two very different audiences for this drama set in Wales.

The first image is for the mainstream audience and it’s designed to be understood immediately as a spooky drama centred around a young woman and a haunted house.

The second key art image was created to arrest and intrigue the youth audience and to encourage them to explore the Requiem publicity campaign further. It attempts to distill key elements of the six part drama into one powerful image, instantly conveying tone but also leaving our youth audience asking questions. The image is concept led and the scene did not appear in the drama but was directly inspired by the scripts and production design.
At its heart, Requiem dealt with a crisis of identity, but it was also deeply supernatural, with many script references to occultism throughout. Every element of the image seeks to convey a sense of deep unease and emotional crisis. Colour was also an important consideration and the muted cyan tone helps to convey the chill in the air while providing the perfect backdrop to the protagonist’s platinum blonde hair.
In terms of composition, this image was designed to be truly multi-platform, working well online, on social media and in print, tolerating a variety of crops and formats without losing impact.

As well as working well for the audience this image got recognition from the advertising community in 2018 when it won gold at the Promax awards.

Great new comedy for BBC Two and part of the BBC’s Shakespeare Season. Stars David Mitchell, Harry Enfield, Paula Wilcox, Liza Tarbuck, Helen Monks, Gemma Whelan, Mark Heap and others.

For this campaign I looked at 16C and 17C portrait paintings. Craftsmen were often shown with the tools of their trade so we decided to surround Will with some of the beautiful props from the show. I briefed the photographer, Colin Hutton, to look at work by Rembrandt and how we might get a very painterly lighting feel.The chicken is an in joke in the show – when Will feels particularly inspired to write, his poor chicken loses a lot of feathers! We shot the chicken seperately and put it together in post production but otherwise all other elements were captured in camera.

Something a little different! I decided to do an underwater shoot for the BBC One drama, The Whale. It was a dramatic retelling of the fateful last voyage of the Nantucket whaleship Essex and the key art image and portrait of the lead actor were inspired by the moment in the script where the whale rams the Essex and the crew fall overboard.
This was shot at the Mediterranean Film Studios, Malta.

This campaign was for the BBC Two series, Racing Legends.
I travelled to three different locations to produce and direct shoots with Sir Stirling Moss, Sir Patrick Stewart and Sir Jackie Stewart but my favourite shot was of Sir Chris Hoy in North Wales.

Directing and producing this project fulfilled my life long ambition to meet and work with Sir David Attenborough. It was a huge privilege!

This campaign was shot for the ‘Attenborough at 90’ programme and season on the BBC. The photography has been used for national and international press, large format print artwork, DVD jackets and social media.

BBC Three drama Class is part of the Dr Who universe and aimed at a youth audience. It was written by the well known author, Patrick Ness.

We kicked off the campaign with the teaser image entitled ‘War is Coming’. (left, 1st image) The campaign then went on to feature a group shot which became the key art image, cast portraits (still and moving clips), and unit photography.

This has to be one of my favourite briefs to date. After reading the scripts and the original book, I decided to take a certain key theme and rework it through these pictures. So the photography reads as beautiful character portraits but if you look more closely, you may start to see another story emerge 🙂
Clue – The Tarot!
I was lucky to work with photographer Todd Antony on this one who did a remarkable job bringing my original ideas to life, along with my colleague Kate Lawson who ran the shoot day for me when I was unable to attend at the last minute.

I managed the unit, portrait and key art photography for this BBC One series. The key art image was licensed by Bloomsbury for the book jacket and the complete set was printed up as a mini tarot set. This set was sent to opinion formers ahead of the first transmission to create buzz around the launch.

I’ve worked with Hartswood Films in some capacity on Sherlock since the first series. For this one off special, I looked at various creative concepts for the campaign shoot but, in the end, decided that simple was best. The new look for Sherlock and Watson is so strong that it does all the work we need it to without adding any other elements.

I managed the unit, portrait and key art photography for this one off Sherlock special.